Within the culinary world and beyond, the honors and accolades have been plentiful for Kennedy, who's been compared to Julia Child, Mick Jagger and Indiana Jones. Whomever her extraordinary life might bring to mind, this grande dame of gastronomy has lived it on her own terms.

This is a lazy feature with few laughs and fewer vicarious travel thrills, despite some nice photography of craggy coastlines and ancient villages.

Good-looking and technically well crafted, the film struggles to get past pastiche and conjure an involving world of its own.

The overall effect is frustrating, because the performances are generally solid (Breaux delivers a strikingly intense turn as the obsessed Nick) and one can sense the intriguing kernel of an idea that could have proved more successful if the execution had been less tenuous.

A solid B movie whose pleasures aren't diminished much by the screenplay's dicey dialogue — plenty of the film has no dialogue at all — it's a welcome vehicle for its star, who has been underused by filmmakers for decades.

The dynamics among the Mystery Inc. team members remain fairly intact however, with the female roles in particular registering more clearly and confidently than in past iterations. In part that’s due to more dimensional scripting, as well as on-point performances from the voice cast, with Rodriguez rocking Velma’s unapologetic geek streak and Seyfried embodying a smoothly cool Daphne.

At once Panh's personal eulogy to the victims of this pogrom (around one-fifth of Cambodia's population perished during the Khmer Rouge's four-year reign of terror) and a subtly informative treatise about history and universal humanity, Graves Without A Name is at once emotionally overwhelming, visually ravishing and intellectually stimulating.

Pablo Schreiber and Jena Malone hustle to overcome movie-ish dialogue and clichéd story dynamics, investing their life-bruised characters with authentic feeling. They're enough to make you care about the film — and the people in it — even at its clumsiest.

The film presents a powerful portrait of displacement and environmental devastation stemming from corporate interests, but it ultimately leaves the viewer with more questions than answers.

Even with locked-down consumers scraping the bottom of the Netflix content trough, this new addition to the lineup is pretty dreary.

The film is an optimistic yet affecting exploration of how fatherhood has evolved over the years and how far it still needs to go.

Fusing Grimm, the early shorts of David Lynch and the stop-motion work of Jan Svankmajer into a visually engrossing, reference-rich and disturbing tale about the mental delirium of a young girl, the deeply uncanny pic makes for an unsettling viewing experience, a creative tour de force whose endlessly fascinating visuals are deliberately seductive and repellent in equal measure.

As a harmless time-waster, Good Trip has its charms, but also its oversold shtick.

The film is quite well-acted and made with a stylistic imprint that's atmospherically tailored to the subject matter, if a little fussy and self-conscious at times. But it's an unrewarding downer.

Capone is definitely an unconventional take on the twilight of a notorious gangster. Alas, it's not an interesting one, although the borderline self-parodying Method madness of Tom Hardy's performance does kind of demand to be seen.

It ticks nearly every box in the checklist of films you wish you could like more than you actually do.

Mostly, Valley Girl succeeds because it doesn't take itself too seriously, instead offering a fun return to the rollercoaster peaks and valleys of first love while reminding us that the experience can change young lives without necessarily defining them.

Irrepressibly inventive and often impulsively unrestrained, Emily Cohn’s CRSHD guilelessly celebrates digital youth culture and its sometimes messy inconsistency with abundant energy and attitude.

Director Magán displays no flair for action sequences, although the budgetary limitations obviously didn't help. Nor does he successfully pull off the dramatic scenes.

Though difficult to watch, it's a film that helps outsiders confront the horrifying ways such events can cause damage for decades after the fact.

McHale has been shrewd in declining to offer a definitive verdict on the movie, instead giving equal time to both negative and positive responses.

Without being revelatory, the documentary shows the events that made her, points to the things that inspire her and leaves viewers hanging as to where we're likely to see Michelle Obama next — or if that's even the question we're supposed to ask.

While the rough-hewn filmmaking occasionally reveals Rapman's lack of experience working with a larger cinematic canvas, Blue Story boasts an immediacy and energy that perfectly suit the material.

Despite some promising moments, the project never quite takes flight, partly thanks to mismatched performances that don't seem to agree on how quirky this film intends to be.

Amusing but off-key in some unhelpful ways, it's a dorky time-killer that doesn't suffer too much for its familiar vibe.

Despite the fine performances by leads Lena Headey (Game of Thrones), who has herself long been active in refugee causes, and Ivanno Jeremiah (AMC's Humans), The Flood lacks the narrative urgency needed to make watching it feel like more than a slog.

The cast is uniformly impressive in their naturalism, but Lewis, Diemir and Lemire — who have the luxury of actually looking like teenagers — are especially so for their young age.

Clearly Diaz wanted to make a sotto-voce exploration of a difficult and heavy topic — instead of a histrionic melodrama — but in trying to rein in the emotions, he seems to have practically scrubbed them out completely. The screenplay, also by Diaz, is so predictable that most of the characters simply seem to be going through the motions, with audiences remaining at an arm’s length even during the supposedly cathartic final moments.